• Sharon Hayes, Kate Millett, and the Women’s Liberation Cinema, Gay Power, 1971/2007/2012, 16 mm, color, sound, 33 minutes.

    Sharon Hayes

    Tanya Leighton

    Let Anita Bryant be muted. Yes, I admit that deep down in my heart, the image of Bryant, singer and notorious campaigner against gay rights, taking a pie in the face (as she did in a 1977 televised interview) does trigger a certain schadenfreude. Still, there is something paradoxical about the fact that the overhead projection that showed this infamous moment, I Saved Her a Bullet, 2012, formed part of a show that was all about the modulation of the (female) voice. But of course the image of Bryant is double-coded in that it bespeaks both her attempts to silence the gay community and that

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  • Ari Benjamin Meyers, Serious Immobilities, 2013, mixed media, dimensions variable. Installation view.

    Ari Benjamin Meyers

    Esther Schipper

    Ari Benjamin Meyers Esther Schipper Every Saturday over the course of Ari Benjamin Meyers’s “Black Thoughts,” the exhibition fulfilled the promise of a spectacular viewer experience, which has become known as a characteristic of a certain vein of 1990s art––and typical for several artists in Esther Schipper’s program: Different combinations of five commissioned musicians would appear to interpret a rather minimal musical composition by turns restrained but insistent or full-on and dynamic. Any other day of the week, though, the gallery was vacant of the performers and their sound; the exhibition

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  • Than Hussein Clark, Love Is Not a Feeling, 2013, mixed media, 111 x 61 x 1 5/8".

    Than Hussein Clark

    Mathew | Gallery | Berlin

    On first sight, Than Hussein Clark’s debut solo show, cryptically titled “Waves (Das Glückliche Rothschild)” (Waves [The Happy Rothschild]), looked a bit like a postmodern interior-decor display. A fluffy, richly ornamented carpet in shades of turquoise, blue, and salmon, Konnigratz/Hamichuri/ Konnigratz/Hamichuri (all works 2013), ran for some twenty-four feet through the space, from the front window to the back wall, where it was reflected by a mirrored brass room-divider, Love Is Not a Feeling, recalling elements from Viennese Art Deco facades. There were cane-bottomed bistro stools and

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